FAINGOLD - Dripping, Like Sour Paint - Score

Dripping, Like Sour Paint for cello, alto flute, and bass clarinet Noam Faingold

Interpretation Guide (ensemble) - (M. 6) Accent with parentheses - In this passage for alto flute and cello harmonics, the accent in parentheses instructs the performer to ensure that the rhythm of the off beat 8th notes in the flute is clearly audible in the texture.

This should sound different than a normally written accent.

- (M. 13) Clarinet bend pitch as desired

- (M. 10) + and o alternations - in Alto Flute and Bass Clarinet, alternate fingerings to create a microtonal rhythmic beating.

- (M. 11) In this passage, the flautist should play notes as fast as possible, blending down into the Bass Clarinet and Cello sound, so that the run is felt more than heard.

The cellist should play their 8th notes towards the end of the run, with the Clarinetist changing notes with them.

The Flautist is instructed to hold their last written F through the cello 8th notes if the cellist begins very soon.

Interpretation Guide (individual)

- (M. 87) Cellist bows the open G string and the note D, which is pressed on the C string with first finger. The open D string quarter notes are plucked with one of the free left hand fingers.

- (M. 13) The flute player plays and sings at the same time. The voice part is written at the same transposition as the alto flute to facilitate perceiving two lines at the same level of transposition.

- (M. 1) Most of these cello notes are found past the edge of the fingerboard.

Each note is a natural harmonic. These are the sounding pitches. The Roman numeral indicates which string to play the harmonics. The lines between notes indicates to play a harmonics glissando (the correct notes are the sounding harmonics between the starting and ending notes.

- (M. 3) Play a lip glissando from appeoximately the lowest notated pitch (fundamental, diamond note head) and bend it until arriving at the note D (x notehead). The glissando is approximate. The pitches with the x noteheads are and the sound of the glissando are the most important elements.

If a different fundamental is needed, the performer should change the fundamental. Once arriving at the note, perform an expressive lip trill.

Program note and context “Dripping, Like Sour Paint” was written in memory of the Farhud (June 1941), a nationalist event of organized state ethnic cleansing (through lynchings, gender-based violence, and the forced removal of land and property) of Iraq’s Jewish community. Iraqi Jews contributed to the country’s cultural landscape for 2,600 years, with the Farhud starting an 11 year period in which Iraq’s Jewish community would be reduced from over 130,000 to less than 6,000 through the stripping of legal protections, property, and nationality, creating mass forced displacement.

The title of this piece refers to the painting of red Hamsas (often a spiritual symbol of protection for Muslims and Jews) on Jewish homes during the Farhud, which signaled to the nationalist mob which houses to target.

My works often search for the relatable human themes in historical events. In this case, I was struck by the theme of betrayal: betrayal of friendship and the betrayal of corrupting a symbol of protection to facilitate an attack. The Mufti of Jerusalem was trusted by Baghdad’s chief Rabbi.

The Mufti, a cleric responsible for organizing several historical acts of mass violence against Jews in the Middle East, convinced the Rabbi to tell the members of his community to paint the Red Hamsas on their homes. It is reported he suggested this so the police could protect them.

Instead, these markings of mystical and holy safety and protection told the mob where Jews lived and where to attack. I imagine paint, blood, and spiritual and personal relationships dripping down.

Dripping, Like Sour Paint

Transposed Score

In memory of the Farhud Written for Chelsea Meynig, Sean Bailey, and Tom Kraines for the 2024 Gabriela Ortiz Composing Studio

Mystical  = 60

 

Alto Flute



 

Bass Clarinet

 

II

Cello

 4

A. Fl.

B. Cl.

4

Vc.

A. Fl.

B. Cl. 6

Vc.

   

 6









  

 = 60

  

  

I (II)



       



a tempo

     

(non vib.)

)  (  )     (

  

(

        lip trill lip gliss.                   non vib., harmonic series like



harmonic gliss. (one bow, out of time)

     





 

  

 

 





 



as fast as possible (at least  = 84)

        

   

   

        

rit. 



 





  





 

start towards end of flute run

 



rit.

non harm.

© Noam Faingold THIS BURNING CITY EDITIONS 2024





 



          

)  (  ) (  )  roll away      

Noam Faingold



  

       

  

 

  

           pizz.

6

Dripping, Like Sour Paint

A sudden pierce in the veil a tempo

9

A. Fl.

     3

 

B. Cl.

 

arco

9

Vc.





11

A. Fl.

B. Cl.









   11   II III

Vc.







3

III (II)

 

  

 





3





  

3





as fast as possible (at least  = 84)



        



piercing, 8va if possible ( )



( )

  

 sub. 3



 sub. 

III II

 

sub.



 



start towards end of flute run





 

alt. fingering

 sub.     I  II   

 

     

 

alt. fingering

 sub. 

rit.

roll away



3

  



 



 

lip trill     



  



(II)

  I

     



Dripping, Like Sour Paint

7

Solemnly, with a hint of mourning (q = 60-72) Flutter tongue; multiphonic with as many of these sounding notes: C, D, Eb, F# roll away ( )

A

    

13

A. Fl.

    

B. Cl.

     

13

Vc.



 

16

Vc.





18

A. Fl.

B. Cl.



 



 





     



        

L.V.

 

       



       

 



  





 





D harmonic series-like



    









echoing Cl. line



(reminder: sounding P4 lower)





In prayer; sighing/melting; rubato as desired

           

       

18

Vc.

 





18

S



 

(Notated at Alto flute transposition)

13

S

 



 







 









arco II III

  0        



 







 

      

sub.

 







   

   

6



 

  

   

overblown, multi-phonic sound





  

8

B



20

A. Fl.

B. Cl.

a tempo



   

20

Vc.



Dripping, Like Sour Paint







 

 

       

 A. Fl.

S

  

B. Cl.

  

25

Fl.



  

(unis.)











 

   

 

3

 



5





   



              

  



       

3

3



    

                   

          

25

Vc.

              

C Slightly slower, declarative  = 120

  

25

   





in prayer; rubato as desired

23

Vc.





   

(unis.)

  







 

  

A. Fl.







28

S

Fl. B. Cl.













3



28

Vc.

  



28



Dripping, Like Sour Paint

            3 rit.

 

 

 



      ( )  

a tempo

           



roll away



 

   

multiphonic (Some mix of G, A, and Bb if possible)

   

 sul pont.

3

pressure

  

        

An anxious calm  = 60 D 







       

9

 



3 3      a tempo       A. Fl.                             3  flz.              B. Cl.      3 3 3 3 3 3       pizz. (quick rhythmic sweep)    32                     Vc.      3       32

rit.

flz.

                flz.

36

A. Fl.

B. Cl.

Vc.

B



harmonics/overtones

   arco   36  



    sul pont.



 

 

rit.

 

               

                a tempo

 

  

ord.

 

 

     

10

Dripping, Like Sour Paint

                  molto rit.

39

With sudden, imminent violence E a tempo non vib., like a flatline





 









overblow, non vib.

  ord. but loud (like a flat line) ord. but loud               3    B. Cl.            3 3    ord.    III   screeching cracking sound, under pressure 39                     Vc.              A. Fl.



43

A. Fl.

B. Cl.

Fl.

 

43

Vc.





47

A. Fl.

B. Cl.





       

 

3



 

   

47

Vc.



  

 

  

  

 

In muted anguish, welling up inside

  



F (with great dynamic restraint  = 60)





 



 

                   

misterioso



      



3



espress., gauzy, molto vib





            

3

    



       





51

A. Fl.

Fl. B. Cl.

Dripping, Like Sour Paint

 



  

 3   51                  II

Vc.





54

A. Fl.

B. Cl.





57

A. Fl.

B. Cl.

 









 

 

3

 



espress. ( )

   

 



    

    



 



 

()      



  

           



  







3

    





       3

         L.V. 

57

Vc.



3          









                 

                         54

Vc.

   





11



      







        

 

3

non vib.

         



              

non vib.

3

3

12



61

A. Fl.

B. Cl.

 

61

Vc.







 

     



B. Cl.

Vc.

         3 3 

67





67

S

B. Cl.





         

  

3

                     3



3



6

   

6



6

     

 

     (unis.)





  

  

 

3



                                       3 3    

67

Vc.



3

 A. Fl.

 





                                    3 espress.

3                            0 64             0  (III) 

64

A. Fl.

 

   

 

Dripping, Like Sour Paint

0





 

3

       

3

              sub.  3





70

A. Fl.



70

S

B. Cl.

Vc.



73

B. Cl.

Vc.









        

  

    



  

77

Vc.

sub.



         3 73           sempre  77

B. Cl.





 A. Fl.

 

 





                        3    3 70                             

 A. Fl.



       

Dripping, Like Sour Paint

 

   

 

 

 

 

  

3

  

      

 



       

 

 



  

 



13



   



 

 

      

 

    



 

  

   

 





 

    3

14



80

Fl.

A. Fl.

B. Cl.

Vc.

3

 80    

83

B. Cl.

                       

 

 A. Fl.

Dripping, Like Sour Paint



  



   



 

86

A. Fl.

Fl.

 

86

S

B. Cl.

  

  

86

Vc.



3



3

3













 

  











 

   







  

 

 

(VC plucked note cresc.)



 

           3

  



 

 

   

 

  

 





 

   







 

   

 

  3

          0

rhythmicized alt. fingering

 ( )



0

 

 

  

 

 

rhythmicized alt. fingering



  sub. 

3

G Reflective, pulsing  = 92

83

Vc.

3



3

 

  

 

 

 

 

  

90

A. Fl.

  





     

 

 

90

S

B. Cl.

    

90

Vc.





94

A. Fl.

 

94

S

B. Cl.

 

  

94

Vc.

  

  





B. Cl.



  





 

     3

  

 



           







  









  











 



      3   3  3           





    ( ) 





  

 

 

 



 

               

 





     



 

15

     

 



  

   3 3 3 3                                             

98

Vc.





98

A. Fl.

Dripping, Like Sour Paint

3

3